What great timing that I found this video.. My worship pastor and I were just discussing this topic last week. He was asking if I remembered how our "Live" matrix for our weekly broadcast worked. After watching the video, Now I remember!! I can share with him. Thanks for posting this!!!
Matrices are such a useful tool, especially in this age of digital consoles. Every time I'm on a console with matrices, my LR bus ends up passing through a matrix on the way to the PA... I can add overall system EQ to the matrix rather than directly on the LR bus, so that other matrices that route to records, broadcast, or overflow feeds aren't affected by my room and system corrections. It's also my preferred location in the signal chain to attenuate the system if needed - if the PA system is more powerful than the room requires, I can bring the PA matrix down so I'm still hitting a healthy level at the preamps and console meters, but I'm not blowing away the audience. This lets me maintain solid gain structure, which in turn ensures that other outputs heading to other destinations are still nice and hot. My preference to have that control right at the console stems from the fact that I won't always have convenient access to the amps or DSP during the show if I attenuate the system there instead - if I end up needing some more headroom once the show starts, I want that control on the console right in front of me. I also place system "zones" on the matrices. Most shows, I run a "PA" matrix, a Subwoofer matrix, and a Fill matrix. The PA matrix gets the LR bus, the Sub matrix also gets the LR bus, and the Fill matrix gets a mix of my groups, with more of the Vocal group, and less of the Guitars and Drums (since the audience at the front of the stage is already hearing so much of the guitars and drums simply from the stage volume). This lets me have a more suitable mix in the front fills, and subs on a matrix retains my control of the level of the subwoofers relative to the mains, without any of the disadvantages of subwoofers on an aux. There have been a few times where I've even used matrices to feed separate parts of a line array - the top few boxes would be fed by one matrix, the lower boxes fed from another. This is especially useful in situations where there is a thrust or runway on the stage - when the performer comes out in front of the PA, I can set a cue on the console to duck the matrix feeding the lower boxes to help reduce feedback. The possibilities are endless! Great video.
On topic of the broadcast mix, you can actually use a post fader Aux more effectively, set all faders at unity in that Aux and it will follow the FOH mix, you can then adjust individual channel levels in that aux for a better mix
That's what I do, though I wonder if I wanted to put an FX chain on that mix if a matrix would be useful. For now I use a reverb bus for live and another more aggressive one for stream and mix the return into the stream aux.
Sending your L/R to a Matrix and adding in what is missing from a group will probably introduce some phase because of the different path length. A lot of mixing desks are not compensating for that.
When using Matrices vs auxes, Is the key benefit being able to more efficiently use groups? I do a lot of church setups and how you’re explaining this makes sense but it also feels like, “but I can just do this with my aux sends” I appreciate the thorough explanation, just want to make sure I’m fully understanding this.
As always amazing video thank you very much firstly for it I have question about Midas Pro console the problem is the gain discontrol it works automotically.How can we solve this problem?
Love your videos… I’d like to know your opinion on a scenario sending Sub content out of an X32. I could obviously use a Matrix for the Sub frequencies by routing the Master to it, adding a LPF and an HPF on the Main LR to balance my sound… However, one nice feature of the X32 is the ability to feed independent channel elements to the M/C Bus which can’t be done using a matrix. Would you recommend setting up the M/C Bus and then routing THAT to a Stereo Matrix to feed a pair of Subs? Cheers
@@Zack-Hates-UA-camdownload the offline editor. the ui is exactly the same as the pro series desks. have to have an intel mac though. not sure about windows
@ Youll find with an Aux you’re just making extra work for yourself. Route your mains to a matrix, route the matrix to some outputs and you have separate stereo volume control for a centre fill! 🙂
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What great timing that I found this video.. My worship pastor and I were just discussing this topic last week. He was asking if I remembered how our "Live" matrix for our weekly broadcast worked. After watching the video, Now I remember!! I can share with him. Thanks for posting this!!!
Great to hear! Very happy it helped
Matrices are such a useful tool, especially in this age of digital consoles.
Every time I'm on a console with matrices, my LR bus ends up passing through a matrix on the way to the PA... I can add overall system EQ to the matrix rather than directly on the LR bus, so that other matrices that route to records, broadcast, or overflow feeds aren't affected by my room and system corrections.
It's also my preferred location in the signal chain to attenuate the system if needed - if the PA system is more powerful than the room requires, I can bring the PA matrix down so I'm still hitting a healthy level at the preamps and console meters, but I'm not blowing away the audience. This lets me maintain solid gain structure, which in turn ensures that other outputs heading to other destinations are still nice and hot. My preference to have that control right at the console stems from the fact that I won't always have convenient access to the amps or DSP during the show if I attenuate the system there instead - if I end up needing some more headroom once the show starts, I want that control on the console right in front of me.
I also place system "zones" on the matrices. Most shows, I run a "PA" matrix, a Subwoofer matrix, and a Fill matrix. The PA matrix gets the LR bus, the Sub matrix also gets the LR bus, and the Fill matrix gets a mix of my groups, with more of the Vocal group, and less of the Guitars and Drums (since the audience at the front of the stage is already hearing so much of the guitars and drums simply from the stage volume). This lets me have a more suitable mix in the front fills, and subs on a matrix retains my control of the level of the subwoofers relative to the mains, without any of the disadvantages of subwoofers on an aux.
There have been a few times where I've even used matrices to feed separate parts of a line array - the top few boxes would be fed by one matrix, the lower boxes fed from another. This is especially useful in situations where there is a thrust or runway on the stage - when the performer comes out in front of the PA, I can set a cue on the console to duck the matrix feeding the lower boxes to help reduce feedback.
The possibilities are endless! Great video.
Very helpful. Thank you.
On topic of the broadcast mix, you can actually use a post fader Aux more effectively, set all faders at unity in that Aux and it will follow the FOH mix, you can then adjust individual channel levels in that aux for a better mix
That's what I do, though I wonder if I wanted to put an FX chain on that mix if a matrix would be useful. For now I use a reverb bus for live and another more aggressive one for stream and mix the return into the stream aux.
Sending your L/R to a Matrix and adding in what is missing from a group will probably introduce some phase because of the different path length. A lot of mixing desks are not compensating for that.
A monitorbus for stream is also fery nice to handel. Whit a sapperate pan option.
Thanks for doing this!
When using Matrices vs auxes, Is the key benefit being able to more efficiently use groups? I do a lot of church setups and how you’re explaining this makes sense but it also feels like, “but I can just do this with my aux sends”
I appreciate the thorough explanation, just want to make sure I’m fully understanding this.
As always great stuff ❤❤
Thank you so much!
As always amazing video thank you very much firstly for it I have question about Midas Pro console the problem is the gain discontrol it works automotically.How can we solve this problem?
Love your videos…
I’d like to know your opinion on a scenario sending Sub content out of an X32.
I could obviously use a Matrix for the Sub frequencies by routing the Master to it, adding a LPF and an HPF on the Main LR to balance my sound…
However, one nice feature of the X32 is the ability to feed independent channel elements to the M/C Bus which can’t be done using a matrix.
Would you recommend setting up the M/C Bus and then routing THAT to a Stereo Matrix to feed a pair of Subs?
Cheers
Great info!
What are your opinions on aux fed subs vs using a matrix for this?
how is this different than setting up a aux bus for the same purpose??
Fantastic!
Thanks so much!
Great stuff🎉
Thanks!
Very interesting thanks very much
Thanks. Glad you enjoyed it
Great stuff. Please tell me what that mixer is at 5:15
midas pro2c probably
@SomethingLotBeatsDrum I'll have to check it out. Seems like a cool console
@@Zack-Hates-UA-camdownload the offline editor. the ui is exactly the same as the pro series desks. have to have an intel mac though. not sure about windows
Matrix on a centre fill almost always. 🙂
I tried that. I need more practice with it. It was a disaster! Easier as an Aux.
@ Youll find with an Aux you’re just making extra work for yourself. Route your mains to a matrix, route the matrix to some outputs and you have separate stereo volume control for a centre fill! 🙂
Fab :)
Nice haircut.
great video & information, thank you for putting your time and effort into this!
Glad you enjoyed it!